Port of Miami was met with generally favorable reviews from music critics. Michael Endelman of Entertainment Weekly said, "On Port of Miami, Ross turns the minute details of drug distribution and dealing into ominous, slow-rolling songs, like the hypnotic, organ-driven hit single ”Hustlin”’ and the Scarface-goes-South Beach stomp of ”Cross That Line.” In general, the whole ”crack-rap” trend (see: Young Jeezy, Clipse) is a disheartening one, but Ross’ pulpy debut manages to enthrall despite the drug-centric lyrics."[8] Sam Ubl of Pitchfork Media said, "Port of Miami is a case of invention begetting necessity. Sure Ross needs these beats-- he has all the charisma of a cold meatloaf. But they need him all the same. He's a supporting actor, second fiddle to the real, Pro-Tooled stars, desirable not for his authority or presence but for his utter blankness. Def Jam could heli-drop any bozo into such glorious ambiance and score some hits; the album facilitates sedentariness."[11] Jonathan Ringen of Rolling Stone said, "Ross' minimal, menacing rhymes about being a drug-game kingpin feel a little undercooked, but with synth-soaked ring-tone-ready beats that are hotter than the "MI-Yayo" in the summertime (mostly by local beatmakers Cool and Dre, DJ Khaled and the Runners), it doesn't really matter."[13] Brendan Frederick of XXL said, "While the runaway success of “Hustlin’” could have positioned Ross for one-hit-wonder status, he confidently sidesteps this fate by delivering the goods on Port of Miami. With a cohesive sound the city can call its own, the bearded rapper gets the release he needs by exposing the dark side of the Sunshine State. His name is Rick Ross, but Miami will remember him by a new name: BOSS!"[15]